Archives for posts with tag: anarchist

Deathgasm

High school heavy metal outcast Brodie (Milo Cawthorne) has little going for him until he meets fellow metalhead Zakk (James Blake) in a record store. Along with a couple of hopeless nerds, they paint their faces a-la-KISS and form the ominously named band Deathgasm. The group would seem to be doomed to obscurity until Brodie discovers an ancient satanic manuscript and turns it into one of Deathgasm’s songs – the resulting dirge unleashing demonic forces that turn the people of their sleepy New Zealand town into rabid zombies. It then falls to Brodie, love interest Medina (Kimberley Crossman), Zakk, and the rest of the gang to rid the planet of the impending ultra-bogusness.

A New Zealander film, Deathgasm follows in the tradition of Peter Jackson’s early splatterfests Bad Taste (1987) and Dead Alive (1992), and might also appeal to those who fondly remember such metal-themed horror outings of the eighties as Hard Rock Zombies (1985), Trick or Treat (1986), and The Gate (1987). Gorehounds and aficionados of things gross should definitely come away from this feast satisfied, with Deathgasm’s veritable buffet for the depraved boasting mass blood-vomiting, forcible earring removal, dildo violence, blood-shitting, urine-squirting, decapitation, sodomy with a chainsaw, and a demonic zombie’s penis getting weed-whacked off.

4 out of 5 flaming pentagrams. Ideological Content Analysis indicates that this “brutal as fuck” Kiwi film experience is:

Fucking Andrea Dworkin A Wyatt Mann9. Anti-Semitic! During band practice, Zakk wears a t-shirt bearing a caricature of Jewish feminist Andrea Dworkin created by the infamous Nick Bougas, aka A. Wyatt Mann.

8. Pro-gay. Medina, on hearing her first blast of metal, envisions herself as a warrior goddess with fawning lesbian slaves at her feet.

7. Anti-bully. Medina is turned off by her boyfriend’s bullying of Brodie. The film even treats Brodie’s coldblooded murder of this character as a moment of comedy.

6. Feminist/pro-slut. Boringly, once the supernatural splat hits the fan, Medina (of course) transforms into an ax-wielding, zombie-butchering metal chick. “I was thinking about getting a tattoo,” she says, because “It would drive my dad crazy.” She then displays to Brodie the spot on her chest she would like to disfigure.

5. Pro-drug. Brodie gets high with Zakk, who is also shown drinking and driving with no adverse outcomes. It is noted that Brodie’s mother was institutionalized after going nuts and debasing herself under the influence of meth, but this information is presented with irreverence rather than caution.

4. Anti-family. None of the characters like their parents. Zakk’s father even has to be killed after he turns into a zombie. In addition to its subversive treatment of conventional domesticity, Deathgasm also features a dashboard trinket in the shape of a baby smoking a cigarette – antinatalist imagery celebrating death, corruption, and nihilism.

3. Anti-Christian. “Hell is awesome,” the viewer learns. Brodie’s churchgoing aunt and uncle, described as “balls deep into Jesus”, are revealed to be hypocrites when anal beads and dildos are discovered in their bedroom. “Older Christian people maybe should steer clear,” star Milo Cawthorne says in an interview included on the DVD.

2. Conformist. Getting across the stupidity of “conspiracy theories” and those who espouse alternative interpretations of history and current events, the unsophisticated Zakk attributes his neighbors’ strange behavior to “the Illuminati pourin’ fuckin’ fluoride in the water or something.”

1. Superficially anarchist. Though stupidly consumerist in their obsessions, Zakk and Brodie steal the things they want – even stooping so low as to siphon fuel from an ambulance.

Rainer Chlodwig von Kook

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Escape Plan

Sylvester Stallone, who previously suffered and grunted to great effect in the excellent Lock Up (1989), gets thrown into the slammer again in Escape Plan as Ray Breslin, the Harry Houdini of incarceration. Breslin is so adept at egress from maximum security penitentiaries that he actually makes his living at it, hiring out his services to the Federal Bureau of Prisons and going undercover in different correctional institutions across the country to test their tightness. Breslin finds himself in the bind of his life when he agrees to try his hand at the Tomb, a CIA-commissioned, privately operated black prison “off the grid” and designed for containing dissidents the government would prefer to see “disappeared”. This time Breslin’s sentence is more than a game.

A gray-haired Arnold Schwarzenegger plays second fiddle to Stallone’s hero, but does add considerably to the fun of the film. He is given one moment of greatness equal to his larger-than-life persona when, in testosterone-mainlining slow motion, he levels a machine gun and mows down a gallery of disposable baddies. Jim Caviezel, unfortunately, is inadequate to the task of furnishing proper antagonism for the likes of the two leading titans. Sam Neill collects a paycheck for playing a tiny supporting role as the prison’s doctor, while Curtis “50 Cent” Jackson keeps it real representin’ the African-American computer genius community as Breslin’s loyal “techno-thug” Hush.

Escape Plan has exactly two things going for it: Sylvester Stallone and Arnold Schwarzenegger. The script is lame and about as original as the title, with typical lines of dialogue being, “You hit like a vegetarian”; “I’m gonna fuckin’ kill you, motherfucker!”; and, still more amazing, this brilliantly sarcastic coup of a zinger: “Have a lovely day, asshole.” Weaknesses aside, the story is fast-paced, the performances are fun, and the dynamite action combo of Stallone and Schwarzenegger will be a difficult one for fans to resist.

3.5 of 5 possible stars. Ideological Content Analysis indicates that Escape Plan is:

7. Anti-tobacco. A guard’s routine of taking a smoke break causes him to be distracted.

6. Pro-miscegenation. The streets of New Orleans teem with interraciality.

5. Anti-Christian. Schwarzenegger, putting on a show of insanity for the guards, spouts religious nonsense in German. Stallone tears a page out of a Bible and burns it.

4. Anti-torture. Guards pummel Stallone and force water down Schwarzenegger’s throat with a hose.

3. Anti-neoconservative. The Tomb, with its savagery, high-tech surveillance, and disregard for citizens’ constitutional rights, serves as a microcosm of life in post-9/11 America. Giving the lie to the Islam-bashers, Muslim prisoners are violent only when they are provoked.

2. Anti-cronyism/anti-capitalistic. The Tomb is operated by “Blackwater rejects” who do the dirty work of corrupt, authoritarian governments and international bankers. “From a financial standpoint I like it,” Breslin’s business partner (Vincent D’Onofrio) says on hearing about the Tomb and the money he stands to make by cooperating with the CIA. Schwarzenegger is an anarchist or revolutionary of some sort who seeks to bring down the financial establishment.

1. Anti-state. The Tomb is administered by the significantly monickered Mr. Hobbes (Jim Caviezel), who boasts, “In here you have no control over any part of your life, except your breathing.” Of interest, too, is the deindividuated design of the brutal prison screws, who wear S.W.A.T.-flavored get-ups and charcoal-black masks with Caucasian features. Could this be a commentary on the reality of life under fake black president B.O., whose ballyhooed skin color masks exactly the same opportunism that motivated his predecessors in office?

white_house_down

Magic Mike himself, big badass Channing Tatum, stars as a Capitol policeman and would-be Secret Service agent who gets his chance to play at the real thing when he and his daughter (Joey King) tour the White House on precisely the day real-life Obama disser James Woods, the devious head of White House security, plans to stage a coup d’etat to unseat President Django, played by Jamie Foxx.

It is appropriate that the opening credits acknowledge a company called Mythology with this lightweight production, considering how White House Down is nothing if not an encapsulation of liberals’ mythologized view of an idealized President B.O., the scholarly man of peace who could solve all of America’s problems if only given enough cooperation and tax revenue. President Django, suitably enough, makes His first appearance in a three-helicopter formation symbolizing the Trinity of His Godhead.

The film follows the basic template of the Die Hard franchise, with a bloodied, battered Magic Mike, complete with soiled wifebeater and an imperiled loved one among the hostages, jumping, running, and dragging himself through historic bedrooms and the obligatory elevator shaft like a younger, sexier, generally less interesting John McClane.

The action is decent, if unoriginal, though there is an admitted joy to the scene of the mild-mannered, bespectacled President Django getting unchained on the White House lawn and hanging out of the window of His chauffeured car with a rocket launcher. James Woods brings a necessary seriousness to the film, while gorgeously quirky Maggie Gyllenhaal, wasted here in the role of a Secret Service bigwig, is at least enjoyable to ogle.

3.5 of 5 possible stars. Ideological Content Analysis indicates that White House Down is:

9. Anti-tobacco. President Django is not a smoker.

8. Anti-Christian. Prominently featured terrorist Killick (Kevin Rankin) has a cross tattooed on his chest.

7. Pro-miscegenation. Magic Mike’s daughter has a crush on President Django.

6. Anti-racist (i.e., pro-yawn). Right-wing white nationalists naturally play a part in the coup.

5. Feminist and anti-marriage. Magic Mike’s daughter not only protects the President, but saves the world from nuclear holocaust. Maggie Gyllenhaal is a strong, self-assured, and independent woman with no need of a man. Her ex-husband was an “asshole”.

4. Egalitarian. President Django deploys a folksy anecdote to explain how poverty causes crime.

3. Antiwar. Refreshingly, White House Down vilifies defense contractors and poo-poos the fearmongering about Iran’s nuclear capabilities. Undermining this show of pacifism, however, is the President’s favorable attitude toward drones.

2. Crypto-Zionist. Conspiratorial mastermind Woods is a fanatical neoconservative bent on destroying Iran. White House Down points the finger not at Israel, however – that country receiving mention only as a signatory to a Middle East peace treaty – but at vague “corporations” and a nebulous “military-industrial complex” with which President Django must grapple. In addition, the implosion of the Capitol dome from a fire inside the building corroborates the official story obscuring the implosion of the Twin Towers and WTC 7, thus diverting attention from any possible Israeli involvement in the 9/11 attacks. Magic Mike’s daughter wears a shirt depicting a squid or octopus to show her solidarity with the forces of the New World Order.

1. Statist. A few bad apples may exist, but government, as personified or deified by Lincoln aficionado President Django, generally has America’s best interests at heart. Racist mercenary Killick, in addition to his cross tattoo, sports an anarchist circle-A on one of his arms. Also demonized are anti-government hackers of the Wikileaks and Anonymous varieties.

Mud_PosterArt

Wholly original while also echoing Stand by Me in its coming-of-age adventure and Sling Blade in its rural milieu, Mud is the story of fourteen-year-old Arkansas boy Ellis (Tye Sheridan), who, along with buddy Neckbone (Jacob Lofland), discovers the titular fugitive (Matthew McConaughey) hiding out on a little island not very far downriver from his family’s houseboat. Mud is on the run after murdering a man who threatened his girlfriend (Reese Witherspoon), and Ellis and Neckbone, who are understandably fascinated by this highly unusual character, strike a deal to help him out by bringing him food and supplies.

Mud, like Luke Glanton in The Place Beyond the Pines, is a semi-mythical, romantic, rough-hewn, damaged but untamed figure whose face and tattoos tell his story. He is something out of America’s past, a sort of boy who never grew up, and locates a parallel spirit in Ellis. Matthew McConaughey, so memorable in the previous year’s Killer Joe, is perfect in this polar opposite role as the friendly and formidable but tragically naive Mud, and Tye Sheridan, too, is believably earnest in his central role as companion Ellis. Other faces enhancing the cast are Sheriff Pusser himself, Joe Don Baker, Premium Rush‘s Michael Shannon, The Right Stuff‘s Sam Shepard, and newcomer Bonnie Sturdivant as sultry teenage hussy May Pearl, Ellis’s inamorata.

5 stars. Highest recommendation. Ideological Content Analysis indicates that Mud is:

6. Anti-Christian. King (Joe Don Baker) represents Christians unflatteringly when he initiates a group prayer for Mud’s imminent demise. Mud makes at least one reference to God, but comes across as more of a pagan with his wild, natural ways.

5. Gun-ambivalent. Mud’s pistol gets him into trouble, but mentor and ex-Marine Tom (Sam Shepard) comes in handy in the end with his rifle and sniper skills.

4. Anti-slut. Mud’s love is wasted on floozy Juniper (Witherspoon).

3. Anti-marriage. Ellis’s parents are getting divorced. Women are undependable.

2. Anti-vigilante. Mud’s poorly considered vengeance has made him a hunted man. King, father of the abusive lowlife Mud murdered, arranges a posse to locate and liquidate the hero, but by doing so he only succeeds bringing more woe on himself.

1. Libertarian. The River Authority callously threatens to order the family out of their houseboat. Neckbone dismisses the legislation sanctioning such an action as “bullshit”. Ellis’s father (Ray McKinnon), meanwhile, voices strong propertarian views when his son is caught in a theft. The police are susceptible to corruption.

future

Ideological Content Analysis requests that readers take a moment to vote in the following poll on American racial prospects. In addition to allowing users to express their sentiments to each other, this will hopefully give the reviewer some idea of the sort of traffic, politically speaking, that the site is getting. Foreign visitors who identify with or take an interest in America’s problems are also invited to participate.

Assault-On-Wall-Street-Dominic-Purcell

Prolific writer-producer-director Uwe Boll, best known for notoriously reviled horror films like House of the Dead (2003) and Alone in the Dark (2005), now taps into understandable populist rage at the crony capitalist establishment with the depressing Assault on Wall Street. Powerfully built Dominic Purcell, something of a poor man’s Clive Owen, stars as down-on-his-luck security guard Jim Baxford, who, after losing his job and his wife (Erin Karpluk) following her protracted illness and financial anxiety suicide, decides to diversify his portfolio with a little vigilante vengeance directed at the seemingly untouchable high-rollers and bankster exploiters he holds collectively responsible for his personal tragedy.

Purcell is adequately tough and earnest, if not particularly interesting, in the lead; but it is in two key supporting roles that Assault on Wall Street shows true inspiration in casting. An aging John Heard is the perfect choice to play number one on Baxford’s hit list: selfish, nihilistic toxic investment CEO Jeremy Stancroft. Even greasier, however, in a role one wishes had been expanded, is uber-oily Eric Roberts as money-grubbing attorney Patterson. Roberts has aged, if not quite gracefully, then fascinatingly, with a uniquely silverfish-like screen presence that ideally lends itself to high villainy. Other familiar faces in the cast include Keith David, Edward Furlong, and Michael Pare as Baxford’s buddies Freddy, Sean, and Frank.

Assault on Wall Street is a decent rental, but may disappoint vigilante fans by spending too much time (nearly an hour) on the humiliating build-up and not enough on the retribution so temptingly advertised in the title. Consequently, it earns a modest 3.5 of 5 possible stars.

Ideological Content Analysis indicates that Assault on Wall Street is:

11. Pro-police. Cops are depicted as human types who share in the general plight and sympathize with Baxford’s mission.

10. Anti-slut. “I’m gonna get an STD from this sandwich,” Frank teases a waitress. Corporate bigwigs consort with whores.

9. Christ-ambivalent. While a preacher attempts consolation, mouthing, “God visits us with many mysteries in life,” Baxford rather takes to heart more militant Biblical passages such as, “He trains my hands for war” (cf. nos. 1 and 7)

8. Marriage-ambivalent. Baxford’s marriage is a devoted one and would, if not for her illness and his financial worries, be happy. Friend Frank’s wife, however, is a cheater.

7. Antiwar. Baxford is a veteran forgotten in his time of need by the country that used him. In reply to the idea that violence is not a solution, a caller to a radio program asks, “Isn’t violence the official solution in Iraq and Afghanistan?” (cf. nos. 1 and 9)

6. Postracial, with blacks and whites interacting as friends irrespective of racial differences. And to demonstrate that his is an equal opportunity beef, Baxford even liquidates a few blacks along with the many white guys in suits and ties.

5. Drug-ambivalent. Baxford smokes philosophically and his friends are enthusiastic drinkers. “Let’s go get some alcohol, make the pain go away.” Baxford, in the wake of his personal ruin, is invited to “watch the game and do some serious drinkin'” for therapeutic purposes. But a man is claimed in a news report to have died in a “drunken accident”.

4. Anti-state. The cronyist statist quo, or the “plutocratic capturing of American politics”, transcends Republican vs. Democrat squabbles, with Bill Clinton, George W. Bush, Chris Dodd, and Alan Greenspan getting name-dropped as culpable players. At a lower level of weaselliness, Assistant D.A. Marwood (Barclay Hope) insensitively brushes off Baxford’s concerns. That Baxford is able to purchase military wares from a black market gun dealer (Clint Howard) militates against the notion that government-mandated gun control is effective or enforceable. Betraying the movie’s mixed messages about the place of government, however, is the fact that deregulation is also blamed for the ’08 collapse.

3. Anti-corporate. “The real fuckin’ criminals –  they’re downtown [i.e., on Wall Street].” Goldman Sachs, MF Global, Cerberus Capital, JP Morgan, and Lehman Brothers are among the outfits that receive negative product placement.

2. Anti-capitalistic. “System’s rigged, motherfucker.” Told “Fuck you,” a banker calmly replies, “That’s a fair response, I suppose.” Free market talk conceals an “anything goes mentality”. “The rich still get richer and the poor get poorer.” Stancroft justifies his misdeeds with a social Darwinist outlook. “That’s the free trade system, my friend,” he says. “That’s capitalism.” “There’s not a person on this earth who’s worth over a hundred million dollars that came by that money honestly.” The film also evinces a naive sympathy for the homeless, juxtaposing their plight with the ease of the leisure class.

1. Pro-vigilante. Baxford is his own law, but also a people’s fury, and wears an Anonymous-reminiscent white mask for the final killing spree.

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